Terry was the musical arranger of the 1966 hit "Cool Jerk" by The Capitols, and later became a record producer, with partners including George Clinton, Sidney Barnes, and Jack Ashford.

Terry's early musical influences included saxophonists Charlie Parker, Illinois Jacquet, King Curtis, and Bill Doggett.

By 1960 Terry was a member of the Joe Hunter Band with Benny Benjamin, James Jamerson, Larry Veeder, and Hank Cosby, forming the basis of the ever-growing group of studio musicians contracted to Motown.

As a member of the group of studio musicians known as the Funk Brothers, he made thousands of recordings, usually in the horn section, with tenor saxophonist Hank Cosby.

Jason Ankeny of Allmusic.com wrote: [Terry's baritone sax] remains an indelible component of the famed Motown sound - his grunting, gutbucket solos electrified dozens of the most memorable hits... What Terry lacked in technical finesse he made up for in sheer rhythmic propulsion, maximizing the brief windows of opportunity afforded him by the Motown assembly-line production process.

[8] Frustrated with a lack of opportunities to arrange or produce records at Motown, by the mid-1960s Terry enrolled at the Detroit Institute of Performing Arts to develop his musical skills.

By 1966, he and fellow Funk Brother Jack Ashford were planning a future collaboration as songwriters and producers, after playing sessions together for Ed Wingate at Golden World Records.

Also in 1966, Terry and Ashford formed Pied Piper Productions, writing,[10] arranging, and producing records by acts including September Jones, Nancy Wilcox, Lorraine Chandler, Mikki Farrow, and Willie Kendrick.

Terry did not perform in the Funk Brothers reunion which led to the 2002 documentary Standing in the Shadows of Motown,[16] (though he is listed under Honorable Mentions on a two disc DVD edition of the film).